“Take a look at Brussels” by TBWA for client SNCF (French Railway System) in Paris is a fantastic way to increase tourism. The cutout for your head really draws in curious passersby, and the charming Belgians on the other end are sure to woo you into buying a train ticket. I’d like to see this as an entire campaign.
“A 3D gestural game. Using an IR 3D Camera, we translate gestures of the human body navigate a virtual landscape.
Start the game, choose a character and try and get the fastest time through the race track.
This project was launched at Skellefteå airport in Northern Sweden as an installation.”
Credits: Interactive Institute Umeå, North Kingdom and Adopticum
Brought to life as a Kickstarter project, Colorbox is an awesome way to “get inside art.” Created in part by Gabriel Mott, your motions dictate what happens to projected colors and lights once you step inside a giant white box. Anyway, Kickstarter seems to be a great platform for interactive art, which can require some very expensive materials such as projectors, cameras, and technology. Good to know…
I’ve loved Jennifer Steinkamp’s work ever since I was visiting a friend at Pomona College and was fortunate enough to have her as a guest speaker for my friend’s art class. Had I known I would be so interested in this stuff back then, I would have asked a lot more questions. Steinkamp creates beautiful multimedia installations such as the one pictured above and below; check it out and see a full list of her impressive multimedia repertoire at her personal website.
This installation has me speechless–and it’s a good thing, because I wouldn’t want to pollute it with the sound of my voice. Watch the video below and you’ll know exactly what I mean. Artist Zimoun has taken seemingly mundane objects and put them together in “architecturally-minded platforms of sound” for an overall beautiful result. I say no more. Watch the video!
Scott Sona Snibbe has been in the interactive art world for a long time and has an impressive track record, having collaborated in the past with artists Bjork and filmmaker James Cameron. What I like best about his work is his objective; Snibbe says, “The purpose of my work is to bring meaning and joy to people’s lives….By using interactivity, I hope to promote an understanding of the world as interdependent; destroying the illusion that each of us, or any phenomenon, exists in isolation from the rest of reality.” His work succeeds in this, dealing mainly with interconnectivity, cause & effect, relativity, and illusion. Below are three of my favorite pieces; “Make Like a Tree” (2005), “Falling Girl,” (2008), and “Boundary Function” (1998). The first two use shadows captured by camera, one of Snibbe’s preferred motifs. “Boundary Functions” is quite interesting, especially in how it must be perceived uniquely in different cultures. Americans are quite fond of their personal space compared to many European and Asian countries, so I’d be curious to see the varied responses from these audiences.
To read more about Scott Sona Snibbe, check out this great article from MetroActive: “The Power of Play.”
“Make Like a Tree” (2005)
“As viewers walk in front of Make Like a Tree’s projected wall, their shadows are recorded and return to this same image as eerie figures in the foreground and background that move between trees, disappear suddenly, and fade into the distance.”
“Falling Girl” (2008) collaboration with Annie Loui
“Falling Girl is an immersive interactive narrative installation that allows the viewer to participate in the story of a young girl falling from a skyscraper. During her miraculously slow descent, the girl reacts to the people and events in each window. Daylight fades, night falls and passes, and at dawn, when the falling girl finally lands on the sidewalk, she is an aged woman bearing no resemblance to the young girl who started her fall minutes before.
Captured on an interactive wall, the silhouettes of viewers viewers appear in apartment windows to juxtapose against the ever-present central image of the girl in silhouette falling slowly as she gets older and older. In this way, viewers participate in this tale about the shortness of our lives and the petty concerns that often occupy us.”
“Boundary Functions” (1998)
“We think of personal space as something that belongs entirely to ourselves. However, Boundary Functions shows us that personal space exists only in relation to others and changes without our control.
Boundary Functions is a set of lines projected from overhead onto the floor, dividing people in the gallery from one another. When there is one person on its floor, there is no response. When two are present, a single line cuts between them bisecting the floor, and dynamically changing as they move. With more than two people, the floor divides into cellular regions, each with the quality that all space within it is closer to the person inside than any one else.”
All project descriptions, videos, and images taken from Scott Sona Snibbe’s website.
“Cross Sections in Space – Moca” by Eness is a collision of art, science, and interactivity. A series of translucent screens represent “a solid cross section of time and space. Virtual 3D bodies passing through the sections deflect and ricochet thousands of surrounding light particles. The viewer directly affects the gravity, direction and speed as they walk through the space. Beautiful and infinite formations are created.” (Eness)
Everyday we interact with unseen particles – why not try and see them?
You’d never know this structure was animated unless you worked at Eness, an award winning art and design practice in Melbourne, Australia. What makes this stop-motion project unique is the way it animates over an incredibly long period of time, and doesn’t come together as animation until it’s time lapsed. Eness says, “MÖBIUS is a sculpture that can be configured into many cyclical patterns and behave as though it is eating itself, whilst sinking into the ground” which you are going to see in this awesome video below!
The animation took place over two weeks in Federation Square. What’s so interesting about this is that most people probably didn’t know that they were interacting with the installation at all. Here’s the “Behind the Scenes” footage:
Says artist Mandy Barker:
“SOUP is a description given to plastic debris suspended in the sea,
and with particular reference to the mass accumulation that exists
in an area of The North Pacific Ocean known as the Garbage Patch.
The series of images aim to engage with, and stimulate an emotional
response in the viewer by combining a contradiction between initial
aesthetic attraction and social awareness. The sequence reveals a
narrative concerning oceanic plastics from initial attraction and
attempted ingestion, to the ultimate death of sea creatures and
representing the disturbing statistics of dispersed plastics having
All the plastics photographed have been salvaged from beaches
around the world and represent a global collection of debris that
has existed for varying amounts of time in the world’s oceans.
The captions record the plastic ingredients in each image providing
the viewer with the realisation and facts of what exists in the sea.”
Source(s): Mandy Barker